• Call for Papers: Performance Matters 10.2: “Performing (in) Place: Space, Relation, Action”


    Performance Matters is seeking submissions for its upcoming issue, “Performing (in) Place: Space, Relation, Action.” This issue will focus on artistic expressions that create renewed awareness of the networks of relations that create territory in the context of Indigenous sovereignties and decolonization. We seek artistic articulations, theoretical questionings, and critical engagement with notions of place making: ways in which our creative actions animate shared spaces as well as how place animates us. In this follow-up to Performing (in) Place: Moving on/with land, the editors (Jenn Cole and Melissa Poll) are interested in actions that exist in addition to/beyond spoken acknowledgments of territory and how these actions enable Indigenous people, other than human kin, and Settler collaborators to lift each other up in resurgent and decolonization efforts.

    We are asking for scholarly essays (7,000-9,000 words), performance/movement scripts and/or artist manifestos, interviews, practitioner praxis reflections and reviews (1,000-3,000 words). We encourage you to consider contributing within your preferred media (audio, video, visual art etc.). Performance Matters supports multiple formats of sharing work and we are hoping to create an issue for the senses. We are asking for abstracts or expressions of interest from artists/scholars by July 15, 2023. Full submissions will be required by Nov. 15.

    Please let us know your availability/interest via and We're open to new ideas and formats so please don't hesitate to be in touch with questions.

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  • Call for Participation: Performance Matters 9.1: Performing Practice-Based Research


    This special issue of Performance Matters (9.1) asks: what is the performative force of practice-based research (PBR)? What exactly is produced when universal design principles are explored through music, when intergenerational trauma is examined through dance, or when performance art is used to probe the effects of climate change?  Whether it is termed practice-based or practice-led research, practice-as-research, research-creation, or simply artistic research, the underlying proposition of the various methodologies we here call PBR is that creative practices may be used to seek out knowledge while also challenging the epistemological assumptions that produce the concept “research.” Creative practices such as music, dance, theatre, performance and visual art, creative media and writing are situated through PBR as both artistic processes/products and as the ground for (and critique of conventional understandings of) experimentation, analysis, and discovery. Although scholars and artists have worked to define PBR, articulate its pedagogies, design and defend graduate programs, and outline its philosophies, PBR remains poorly understood and unevenly supported in the academy. How does PBR productively articulate with other processual and collaborative methodologies? Who has agency within PBR and what constraints does it operate under? How can PBR methodologies help us to reimagine and reinvigorate scholarly and artistic enquiry?

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  • Congratulations to Performance Matters author Jade Power-Sotomayor!


    The editorial team at Performance Matters congratulates Jade Power-Sotomayor, who was recently awarded the American Society for Theatre Research's 2021 Sally Banes Publication Prize for her essay "Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs," published in the most recent Sound Acts, Vol. 1 special issue of Performance Matters 6.2 (2020), edited by Patricia Herrera, Caitlin Marshall, and Marci R. McMahon.

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  • CFP: The Syllabus is the Thing: Materialities of the Performance Studies Classroom


    What does a performance studies syllabus instantiate or call into being in the classroom? As an interdiscipline, performance studies has been incorporated as an academic field while still remaining sensationally unsettled in its interventions, methods, and objects of analysis. As such, performance studies syllabi may function as performance scores, performative texts, archives of pedagogical practice, and finally, as the material of our performance as teachers. Indeed, the classroom, for many of us, is our most prolific and durational performance site. These iterative classroom performances rely on scripts as well as improvisational practices, with new forms and constellations emerging from the tried and true. The classroom is then a black box: a space for the staging of collective process, of dialogical exchange, and of inquiry itself as a performance form. It is also a black box in another sense: the classroom walls obscure its inner workings, rendering the performance of pedagogy strikingly difficult to represent. How do we document these performances and make them accessible in some way to those who weren’t there?

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